Description

Helen Mirren (Prime Suspect, The Clearing) stars in this compelling murder-mystery set amid the murky underworld of illegal art trade.Maggie Sheridan (Mirren), once one of the most famous blues voices of her generation, lost decades of her life to drinking and hard-living. After a failed suicide attempt, she was taken in by Sir Charles Stafford (Iain Cuthbertson, Antonia and Jane) and his son Sebastian (Iain Glen, Tomb Raider). She has lived quietly on their Irish estate for ten years. But one summer evening, her peaceful life is shattered when Sir Charles is brutally murdered, and a valuable sixteenth century painting is stolen. The painting is one of several disturbing pictures sent to Sir Charles marking the major events in his life.Maggie is convinced that the stolen painting holds the key to Sir Charles' death and decides to track it down. Meanwhile, Sebastian uncovers a terrible secret, with horrific consequences. ... Read more

Reviews (2)

"I can handle violent lowlifes."
I loved Helen Mirren in the "Prime Suspect" detective series, and after I watched all the episodes, I began to look for other films that cast her in the same sort of role. I came across the miniseries "The Painted Lady." I took a chance and bought a copy.

The exquisite Helen Mirren stars as Maggie--a has-been rock singer who has spent the last decade sobering up on the Irish estate of friend, Sir Charles Stafford. Sir Charles lives alone in the vast family mansion, and Maggie hangs out in the small guest lodge on a corner of the remote estate. The pride and joy of Sir Stafford's rather solitary life is his vast art collection. One night, a robbery on the estate ends in murder, and Maggie begins to ask questions. Apparently, Sir Stafford's son, Sebastian, Maggie's long-time friend, has amassed debts for illegal substances to the tune of 60,000 pounds, and this, Sebastian owes to a vicious thug named Longley. By an amazing coincidence, just a few weeks before the robbery, Sir Charles insured the paintings for the sum of 60,000 pounds. Maggie puts two and two together and realizes that Sir Charles must have arranged the robbery to pay off his son's debts.

However, this conclusion just leads Maggie to more questions. One of the missing paintings is particularly valuable. Why didn't Sir Charles just sell the paintings to pay off the debts? Where did the paintings come from in the first place? What is the connection between Sir Charles and a mysterious Italian man? Maggie hunts for answers, and so she is drawn into the marvelous and sinister world of art forgery and theft.

Helen Mirren plays Maggie Sheridan, and this role was written especially for her. It's easy to see why. I can't think of too many actresses who could carry off this sort of role. At the beginning of the film, the rather bohemian Maggie is listening to her old hit-records, dreaming of her lost fame. She hasn't done anything in decades, and so she's hibernating in a way. The desire to solve the murder and the mystery behind the Stafford art collection breathes new life into Maggie, and she grabs the quest with zest and a new lease on life. Maggie poses as a Polish Countess to infiltrate the art world, and she looks very convincing in her elegant designer clothing as she bids for multi-million dollar paintings. Mirren delivers a stellar performance as Maggie--a surprisingly unpredictable woman full of elegance and grace who continues in her quest for the truth in spite of the fact that she is unsure of the outcome. Mirren's ability to cross over--seamlessly--between the elegant world of art and its dark underbelly is just incredible to watch.

A top-notch cast support Mirren in this excellent production. A very elegant Franco Nero stars as Robert Tassi--an international art dealer. Lesley Manville plays Maggie's half sister, Susie. She's a success in the art world and is married to art dealer Oliver Peel (Michael Maloney). Susie resents Maggie's freewheeling lifestyle, and yet she loves and admires Maggie too. Maggie's relationship with Susie and Oliver Peel adds a great deal of interest to the plot. A haunting musical score underscores and complements the action, and some fascinating details about art--including considerable mention of Artemisia Gentileschi--make this video a fascinating adventure for mystery fans. The video is over 200 minutes long, and the plot is riveting from beginning to end. I recommend it wholeheartedly--displacedhuman

Another 'MIRREN' must see!
I was riveted to the screen, from the first moment, to the last credit. Having seen most of Helen Mirren's previous works, I was again watching a masterpiece in motion.

Mirren's portrayal of the once hard drinking and hardball playing 'Maggie Sheridan,' was incredible! Each emotion and mood set was played with such credibility, that you really believed Mirren was 'Maggie.'She never missed a beat!

Iain Cuthbertson and Iain Glen put forward superb performances. Both men's characters were an essential part to the plot, and made you believe they were Sir Charles Stafford and son Sebastian. Riveting portrayals!

I would recommend this video as a must see! ... Read more

Description

Ioan Gruffudd, Justine Waddell and Charlotte Rampling star in this adaptation of Charles Dickens' enduring classic Great Expectations, the story of a young orphan named Pip who lives with his sister and her blacksmith husband, Joe.

One day Pip is sent to play at the residence of Miss Havisham, a frightening, elderly woman who seems locked in the past. She wears ancient bridal attire and never moves from the dusty upper rooms of her home. Miss Havisham's beautiful but contemptuous ward, Estella, makes Pip feel appallingly inferior, creating in him a desire to better himself—changing his life forever. But despite his efforts to improve himself, the frustrated Pip seems destined to remain Joe's apprentice. Until one day a lawyer calls to inform Pip that he has "great expectations:" Pip is to be released from his apprenticeship and educated in London as a gentleman! The benefactor who has made this life transformation possible, however, wishes to remain anonymous. ... Read more

Reviews (27)

Not a good movie
I've never read Dickens, or watched any movies/tv series based on any his novels, so I don't know what is from the book and what is from the movie director. I really enjoy historical dramas, especially BBC tv series. In this Great Expectations, the acting was good, especially the heartless little Estella. However, what I didn't like about the movie:

1. Too much scenery, not enough interaction. Instead of 10 seconds of Pip walking on the moors, we get 30 seconds. The same goes for birds flying, waves on the water, Pip walking through dark tunnels, Pip walking through dark streets, Pip walking up stairs, Pip rowing a boat. Pip opening doors and walking down dark hallways. Lots of extended scenes of scenery and no character conversations. Also, there're lots of scenes of Pip and Miss Haversham, Joe and the convict. But, there's next to no scenes of Pip and the love of his life, the grown-up Estella. Which leads to the next point:

2. As a result of the lack of scenes with Pip and Estella, we hear secondhand that she's unhappy, and we only hear Pip say that he's in love. The editing/screenplay is so choppy that we never hear why or how. I guess we are to assume from 10 minutes of the movie that Pip loves her madly because she is pretty and treats him very cooly.

I mean, honestly, we get what's got to be a total of 30 minutes of boring scenery in the movie, and then almost none of the adult Pip falling in love with Estella, or what happens to Estella after marriage?

3. Discontinuity. I don't understand why Estella is so heartless and cruel as a child, then comes back as a soft mannered, kindly seeming lady. Is this a gentleman-trap of some sort?

I give this 2 stars because the acting was very good, but the storyline is super choppy, cryptic, and unbalanced. It would have been better if more time had been spent on explaining the plot instead of long panoramas of the scenery.

Great adaptation of a classic
Great Expectations is my favourite Dickens book and this production doesn't disappoint. Ioan Gruffudd is terrific as Pip and it's such a change to have Miss Havisham not be a dotty old crone. Charlotte Rampling is still a very beautiful woman and she is excellent as Miss Havisham. Justine Waddell is suitably cold as Estella and the rest of the cast is fine.

The only complaint I have is that this was too short and tended to go over some parts too quickly. For a more thorough adaption I recommend the 1991 mini-series with Anthony Hopkins.

Horatio Hornblower as Pip!
It's an unique adaptation of Charles Dickens' "Great Expectations", but still, it's not as good as John Mills' "Great Expectations" (1947).

In John Mills' "Great Expectations" the events are well-focused, and Miss Havisham is meaner and crueler than in this movie. So it's better to see John Mills' "Great Expectations", or to read the book before seeing this movie.

Two things I did not like in this movie, the "WIDE" logo which appear on the screen every 15 minutes, and the narrator who appears on the beginning of the movie. We want to have fun not a lecture.

Ioan Gruffudd (Horatio Hornblower) performance is excellent as always, he proved that he always conquer, in love and war.

Lovely, but ill-focused film.
First let me say that I adore Ioan Gruffud and Justine Waddell, and their work, in this and in other films. And therein lies my (mild) dissatisfaction with this movie: there really are not a lot of scenes with the two together, focussing on their thwarted love. In particular, there is not a lot of development of Estella, so that her actions seem a bit difficult to understand. Why is she marrying that thug of a suitor? Is it an act of will on her part, and is she really so desparate to get any from Miss. Havisham? And if so, why not marry Pip, or anyone else for that matter? Pip confronts Miss. Havisham with the stated fact that Estella is suffering badly; however, we don't SEE this. A cardinal sin in moviemaking is to TELL instead of SHOW. And there are disappointingly few scenes, as I said, developing the love story, which tends to distance the viewer from Pip's pain. In particular, there is a dearth of scenes with Justine Waddell in them, which is quite hard to take, if you are a fan of hers, like myself. I was a little appeased that Ioan Gruffud was in practically every scene, hence my decision to give it four stars. Bernard Hill also was impressively protean as the initially threatening, but ultimately paternal Maggwitch. Charlotte Rampling was her usual luminous self, creating a peculiarly attractive Miss. Havisham. One wonders how her fiance could ever have abandoned her. To conclude, I was a little disappointed, but the film was worth the time and money I spent. I would highly recommend that Waddell fans search out her other work. She has been much better used in other vehicles, such as Tess of the D'urbervilles and Wives and Daughters (both are Mobile Masterpiece Theater productions, I believe). She also starred in a movise made in the U.K., "The One and Only", unfortunately not available in the U.S. yet.

Beautifully Shot But the Least Romantic and Humorous Version
This is a Master Theatre Version made in 1999, of Dickens' oft-filmed book which comes with stunningly beautiful photography and most strange decision about adapting the original book. As if to resist the Americanized version starring Ethan Hawke made the year before, this film version, as far as I know, is the least romantic one ever made. Whether or not you like the film solely depends on this aspect, so let me tell you about it first.

The story is comparatively faithfiul, spending about 3 hours to cover the story of Pip, an apprentice of blacksmith who unwisely perhaps, falls in love with cold-hearted Estella. But the film, as I said, gives more stress on darker side of the book, so the love theme is not explored as deep as other versions such as David Lean's or Alfonso Cuaron's. Rather, the newer version seems to give more emphasis on the Pip's guilty feelings deep rooted in his contact with the runaway convict Magwitch, and the film's way of shooting the famous opening of the book, which relates their encounter on the graveyard in the marshes, gives us no time for savoring Dickensian humor. The film uses the technique of flash-back, in order to express Pip's fear, which, I am afraid, is overdone for its own sake.

I do not follow every details of the story (you probably have read the book), but I have to say this; like I said, this film is endowed with least amount of humor and romance. Sure, you see Wemmick's most casual wedding; you see Biddy, Joe, Herbert (not all Pockets however), but you cannot expect to find any humorous scnes, one of Dickens' trademarks. So, when Pip recounts how he met Miss Havisham before his sister and Pumblechook, he is literally forced to talk. As you know, this is one of the humourous scenes of the original -- even though the humor is downplayed -- where we can see Pip makes up his own story, which gets more and more outrageous as he goes on. But the director here didn't seem to see that way, depicting the whole incident as simply terrifying one for Pip, who must receive as much scolding and harsh words from them, as if in a tortune.

Justine Waddle, often cast in costume dramas, is good as grown-up Estella, but before she could show something, the film goes on to follow the story of Pip, who must face bravely several darker moments of life (you know what I mean -- Orlick and Themes River), thus making least use of romance between Pip and her. Actually, the film shows more of mud (of London and Pip's village) and decay, so the first thing Pip sees in London is the butchered cattles hanging on the hook. It is true that Dickens' original book tells how Pip, arriveing in London for the first time in his life, wanders around Smithfield, then an open-sir cattle market, but ... do we need to know that?

The portrayal of Gruffudd's grown-up Pip is so-so, but the most disappointed thing about the film is Charlotte Rampling's Miss Havisham. Not that her acting is bad, but her Havisham simply does not convince me, being too weak in her gestures. She should be more authentic as this witch-like woman often found in fairy tales, who commands people, not just talks. If she does not follow the flamboyant acting of Anne Bancroft, that is OK. I just need more enticing mystery in this enigmatic, willful woman, Havisham.

Overall not bad if you look for bleak atmosphere in Dickens. But for those who seeks for humor and romance in him, this is not the one to see. ... Read more

Reviews (4)

WHY is this series not on DVD?
I want to echo other reviewers and say that "Cracker" is arguably the best mystery series ever produced. It is a crime that the entire series is not available on DVD (and yet "Father Ted" is? The mind BOGGLES!!).

The second greatest TV series ever
If there ever was a show that combined drama, wit, off-color humor, and powerful performances, "Cracker" would have to be it. This is (after "Blackadder II") easily my second favorite television program, and "To Be A Somebody" is without question the best episode of it.

The plot? Albie Kinsella (Robert Carlyle) is upset over the death of his father. He shaves his head and begins a homicidal rampage, in which he intends to avenge the victims of the very real Hillsborough soccer disaster of '89 (of which series creator McGovern was a witness). He kills a Pakistani store clerk (Badi Uzzaman), the criminologist (Glyn Grain) in charge of the investigation of the former murder, and D.C.I. David Billborough (Christopher Eccleston). At the end he is captured, and goes one on one with Fitz.

Robbie Coltrane's Fitz is arguably the best TV character ever dreamed up; a drinker, smoker, womanizer, and compulsive gambler, he is nonetheless a brilliant psychologist who is frequently called by the police to help in investigations. As if he weren't having enough personal problems of his own; his wife, Judith (the superb Barbara Flynn), is embittered and angered by Fitz's actions and continually threatens to leave him. Coltrane combines cool wit, a superb voice-acting talent, and simple genius to deal with the criminals. Coltrane - easily my favorite actor - handles the role impossibly well.

Carlyle, as Albie, creates a killer that is somewhat sympathetic - he is attempting to avenge the deaths of his friends and follow football fans, and provide some sort of income for his wife (Tracy Gillman) and child. He is quite obviously a deranged maniac, a football hooligan (he continues to chant "L-I-V-E-R-P-Double-O L Liverpool MC" throughout the episode), and he gains an increasing confidence in himself as he goes (he is snivelling and crying after he kills the shop keeper, but he doesn't blink an eye concerning his other two killings), until the final climactic episode - he is attempting to kill a freelance journalist for some reason, and makes a bomb - but he is apprehended at soccer match by the seemingly deranged DS Beck (Lorcan Cranitch), who is even more over the edge after the murder of Billboroug, and beaten to the edge of the death. Carlyle's performance is near-perfect - and his final confrontation with Fitz is one of the best scenes of television ever filmed.

The ending I won't give away, but let me just say this much: You won't expect it, and it's certainly not a happy one.

Screenwriting at its best
Although produced for the English television studio Granada, Cracker features the talents of some of the best Celtic talent currently gracing the screen. Much of the success of the Cracker series is squarely attributable to the screen presence of the extraordinary Robbie Coltrane. Since his debut to international audiences in the Bob Hoskins vehicle MONA LISA, Coltrane has evolved from a serio-comic actor to one of Britain's most charismatic leading men. In general the success of the series is due to his consummate abilities as an actor. In TO BE A SOMEBODY he is partnered with a fellow Scottish compatriot, Robert Carlyle who is most familiar to audiences as the demented BEGSBY in the smash hit TRAINSPOTTING. For once Coltrane has to take a back seat. This is without a doubt Robert Carlyle's show. There are few better examples of the craft of acting as Mr. Carlyle exhibits here, a veritable clinic. Christopher Eccleston who made his feature screen debut in LET HIM HAVE IT is also a stand out. But the real unsung star is the screenwriter Jimmy McGovern whose capacity for wit is amazing. In the short span of this series he manages to create scenarios and diologue which are intelligent, thought provoking and more than just a little amusing. Even characters who are merely bit players are fleshed out and instilled with real character. One never gets the impression that a character is merely a walk on and that is the true sign of a great craftsman. It must be said that I have always been bothered by one scene in this film. It is the murder of the Asian shopkeeper. Having seen the American film FALLING DOWN (about a white collar worker who goes on a killing spree) I noticed a very great similarity between the two. Each character begins his murderous rampage by getting into an altercation with an asian shopkeeper over the exorbitant prices charged in his shop. Both sceens play the same and curiously both films were released in the same year. Check it out for yourself.

Best Series ever
The "Cracker" series is the best series ever on tv or screen. I was riveted by every one of the videos. I have both boxed sets and the single "To be a Somebody". I was and am a big Prime Suspect fan and have every one of those videos but Cracker has taken over. The American series is not worth watching to me. Robbie Coltrane is the Cracker and all the supporting cast and underlying relationships and stories are absolutely brilliant. I couldn't recommend it any higher. ... Read more

Description

The true story of England's vanished regiment is revealed. It is one of the most compelling and curious legends of the First World War. Led by Captain Frank Beck (David Jason), a favorite agent of King George V (David Troughton), Sandringham Company was comprised entirely of servants, grooms and gardeners from the King's Norfolk Estate. On August 12, 1915, the unit marched into battle against the Turks in Gallipoli and simply vanished, never to be heard from again.All the King's Men brings the details of what really happened in 1915 to the screen for the first time. it tells the story of these amateur soldiers, the idyllic life and loves they left behind in the quintessential English country estate and the horrors of an ill-prepared campaign to which they were subjected. ... Read more

Reviews (7)

All the King's Men
Slightly stuffy and fractured, but that really doesn't change this PBS miniseries' special qualities at all. Maggie Smith is quite good in her role, and adds humour to it as well. The other cast members are excellent, with direction and writing at tops.
A must if you enjoy Masterpiece Theater.

Moving Drama
A very well made, moving drama about the Estate workers at Sandringham who volunteer during The First World war to fight the Turkish in Gallipoli. Unlike the Mel Gibson Film, this focuses purely on the British contingent at the Dardanelles and the suffering and losses involved.

The legend of the Sandringham soldiers has it that a mist descended on them as the marched into battle and that they were never seen again. This actually shows the reality of battle, the distinct lack of glory and the shambolic reconnaisance which leads in turn to the inevitable result.

As the drama unfolds, we are introduced to the characters and have enough time to get used to them and start to understand and like them.

If war films are not your thing, believe me, this is very different. Worth a watch, especially the ever-dependable David Jason.

haunting story of a lost regiment
"All the King's men" is the story of the lost Sandringham regiment during the First World War at Gallipoli. The workers on the Sandringham estate wanted to do their bit to help in the war, and convinced the Queen to let them join their fellow soldiers at Gallipoli. The regiment disappeared, much to the puzzlement of the families they left behind. Of course, the men were killed, but since there were no letters, no word from the War Office, no witnesses, no returned mementos, there was a strong interest in finding out what happened to those men.
I thought that the movie did a good job. The costumes were of the period, the characters were believable, and there was a wonderfully poignant juxaposition of the bewilderment of the families back in England and the hard realities of battle at Gallipoli. There was also a heartbreaking touch during the scene in which the commander is reading one of Rupert Brooke's 1914 sonnets to his men "If I should die, think only this of me...." then the movie continues with the brutality of the war. Far more Sigfried Sassoon than Rupert Brooke, but Brooke illustrated the naivite that still existed at the time (Brooke too died en route to Gallipoli). I highly recommend this movie. If you are looking for another World War I movie, I also recommend "Gallipoli", starring a very young Mel Gibson.

Missing in Action
It is unusual in the history of warfare for entire units to disappear without a trace and when it does occur, such occurrences are usually the result of serious mistakes that lead to the annihilation of one's command. In American history, Custer and the 7th Cavalry come to mind. Further back, the disappearance of the entire Roman 9th Hispana Legion in Scotland is another example. In the British-made movie entitled "All the King's Men," a more recent occurrence of such an incident is portrayed. On August 12, 1915 at Gallipoli, over 300 British soldiers of the 1/5th Norfolk Battalion attacked into a morning mist and where never seen again. Few of the bodies were ever found and none returned from Turkish prisons after the war. Winston Churchill no less, called it one of the great-unsolved mysteries of the 20th Century.

This film focuses on the "Sandringham Company," formed mostly from servants, gardeners and other workers on King George V's estate of that name, which were part of the 1/5th Norfolk Battalion. Virtually none of these men were ever seen again and the Royal family made great efforts during and after the war to ascertain their fate. The main characters in this film are Captain Frank Beck (David Jason), his two nephews who are lieutenants in the company, a Sergeant Grimes, King George V and Queen Alexandra. Beck is the main focus, as the fifty-plus estate manager who organizes and prepares the unit for war; rather than appearing as an odious "Colonel Blimp" type character, Jason wonderfully portrays Beck as a trusted father figure in the unit, respected by both the King and the troops. Much of the early part of the film focuses on the lives of the men while on the estate, and Beck's efforts to go to war with them despite his age. Eventually, Queen Alexandra lends her support to his martial ambitions and Beck is allowed to lead his men off to Gallipoli.

Unfortunately, the film bogs down a bit once the unit gets to Gallipoli. In reality, the 1/5th Norfolk landed at Suvla Bay on 10 August and was lost two days later, but in the film these two days seem to drag. The fact that the British were making a major effort to break out of the Suvla Bay enclave is missed here, because the film shows the men of the company lounging about and engaging in mundane camp activities. Some patrol activity against Turkish snipers is shown, but this has little relevance. On 12 August, as part of a minor preliminary operation to clear the way for a larger attack on the next day, the 1/5th Norfolks and several other units are sent forward to clear out Turkish outposts. At this point in the film, when the unit disappears in the mists, the director begins to switch back and forth between post-war investigations into the disappearance and a hypothetical depiction of what actually occurred on that day.

Historically, the film is a bit disappointing in recounting the fate of the "Sandringham Company" because it fails to put the day in perspective. The Sandringham company is shown in total isolation from the rest of the British army. The participation of other units or even the rest of the battalion is not depicted in this film, nor is even the audience told what their mission was. In fact, Captain Frank Beck did not lead the attack; it was his superior Colonel Beauchamp (Beck is never shown interacting with his superiors), who also died. The 1/5th Norfolk lost 372 men that day, of which the Sandringham men were only 2/3rds of the casualties. Even more glaring is that the British suffered about 18,000 casualties in less than a week at Suvla Bay during the period of the Sandringham company's brief involvement in the campaign; the disappearance of a few hundred troops in the midst of such slaughter and confusion might have made more sense given these facts.

Obviously the men were all killed, since none ever returned, but the exact nature of their fate remained a mystery. This film depicts the Sandringham's as punching through the thin Turkish line in a glorious charge, but are then overwhelmed once they become surrounded behind enemy lines. The Turks execute all the captured survivors, including Beck. While this theory has merit, it is not the only possibility. The film depicts the mist as obscuring the battlefield, but fails to show the heavy scrub brush and small trees that hindered the British advance and made it difficult for the officers to maintain control. Another plausible theory, not suggested by the film, is that the 1/5th Norfolk lost cohesion in the rough terrain and the battle-hardened Turks destroyed the untried unit piece-meal. While there is little doubt that the Turks were not taking prisoners that day, there is no evidence to suggest that the "Sandringham's" went down in a blaze of glory as depicted in this film (although certainly such a depiction is preferred to anything that suggests an ignominious end). Perhaps they did, but the loss of the entire unit is more indicative of incompetence than competence.

Despite these historical reservations, the film is very well done and provides a poignant example of the enthusiasm of men to go off to war in the early days of the First World War. Although some minor characters, including a conscientious objector and a shell-shock casualty, temper the glorious view of war to some extent, the film remains committed to a patriotic depiction of martial duty. The cost of such devotion is apparent by the end of the film, but the meaning of such sacrifice is left ambiguous. Contrast this British-made ambivalence about the sacrifices of the First World War with the current American films that glorify the sacrifices of the Second World War.

All the Stock Characters
In the vein of "Glory," All the King's Men is about a regimen of ill-fated soldiers who meet their demise during a military offensive. Unlike "Glory" these troops are more stock and less flesh. They seem two-dimensional, excepting Emma Cunniffe's character as the new bride and Ian McDiarmid's performance as the Reverend who was willing to lie to protect the mentality of the sole survivor of this regimen. The overall message in All the King's Men prevails: There is no glory in war and battles only senseless tragedy and death. ... Read more

Reviews (2)

A real treat!
Another brilliant and entertaining British mystery.There is something here for everyone. Helen Mirren is, as always, superb. There is a wonderful attention to detail,and delightful character development. As the story unfolds, there are enough twists and turns to intrigue the most sophisticated of mystery fans. Tired as I was when I saw this, I could not tear myself away, and finally and wisely bought my own copy so that I could watch again without missing a moment. Treat yourself to a great evening of entertainment. You'll find yourself watching this one more than once.

Helen Mirren shines again
The Painted Lady is a marvelous movie in which Helen Mirren delivers a ferocious performance as a former blues singer in search of the killers of her landlord. Her portrayal alone, which spans the spectrum of human emotion from roaring rage to wounded pain deserves an Emmy. The plot at times get a little murky, but stick with Mirren everytime and she'll show you what is still good about television. ... Read more

Amazon.com

This episode of the acclaimed Granada TV/A&E series finds our hero, the hard-drinking, compulsive-gambling, arrogant yet brilliant Dr. Eddie Fitzgerald, forensic psychologist affiliated with the Manchester, England, police department, assailed from all sides. His long-suffering wife, Judith, is at the end of her rope with Fitz's destructive habits, and his law-enforcement colleagues have no patience with his reluctance to unilaterally decree that a prime suspect in their most recent sensational case is guilty. A man is found bloodied and dazed near a railroad track in northern England, suffering from that hoariest of TV conventions, amnesia.It turns out he jumped (or was he thrown?) from a train upon which a young woman--the third in a series--was brutally slashed to death. Fitz must determine whether the soft-spoken, clearly well educated fellow is in fact innocent--or whether he is playing a deadly mind game. The title refers to a typical Fitz remark--that lost memory is like the madwoman locked away in the attic: occasionally you hear a scream but you don't dare go near the door. Sometimes it's hard to like the pigheaded Fitz, but the direction of Michael Winterbottom (who also directed the acclaimed feature Welcome to Sarajevo) and the stellar writing make for a terrifically satisfying--and occasionally unsettling--armchair detective experience.--Anne Hurley ... Read more

Reviews (1)

Mad Woman in the Attic
In this Cracker mystery, Robbie Coltrane appears as Fitz, a pychologist and the lead character. It appears to be the first of the series and is one of the best. All of the actors were well cast in their roles. This series is full of depth and can easily withstand repeated viewing. This particular episode presents the viewer with all the admirable and other facets of the main characters. A British series, Cracker didn't make the transition to the USA as another actor played the role of Fitz. This was intricately plotted and well acted - a pleasure to view. ... Read more

Reviews (7)

All the King's Men
Slightly stuffy and fractured, but that really doesn't change this PBS miniseries' special qualities at all. Maggie Smith is quite good in her role, and adds humour to it as well. The other cast members are excellent, with direction and writing at tops.
A must if you enjoy Masterpiece Theater.

Moving Drama
A very well made, moving drama about the Estate workers at Sandringham who volunteer during The First World war to fight the Turkish in Gallipoli. Unlike the Mel Gibson Film, this focuses purely on the British contingent at the Dardanelles and the suffering and losses involved.

The legend of the Sandringham soldiers has it that a mist descended on them as the marched into battle and that they were never seen again. This actually shows the reality of battle, the distinct lack of glory and the shambolic reconnaisance which leads in turn to the inevitable result.

As the drama unfolds, we are introduced to the characters and have enough time to get used to them and start to understand and like them.

If war films are not your thing, believe me, this is very different. Worth a watch, especially the ever-dependable David Jason.

haunting story of a lost regiment
"All the King's men" is the story of the lost Sandringham regiment during the First World War at Gallipoli. The workers on the Sandringham estate wanted to do their bit to help in the war, and convinced the Queen to let them join their fellow soldiers at Gallipoli. The regiment disappeared, much to the puzzlement of the families they left behind. Of course, the men were killed, but since there were no letters, no word from the War Office, no witnesses, no returned mementos, there was a strong interest in finding out what happened to those men.
I thought that the movie did a good job. The costumes were of the period, the characters were believable, and there was a wonderfully poignant juxaposition of the bewilderment of the families back in England and the hard realities of battle at Gallipoli. There was also a heartbreaking touch during the scene in which the commander is reading one of Rupert Brooke's 1914 sonnets to his men "If I should die, think only this of me...." then the movie continues with the brutality of the war. Far more Sigfried Sassoon than Rupert Brooke, but Brooke illustrated the naivite that still existed at the time (Brooke too died en route to Gallipoli). I highly recommend this movie. If you are looking for another World War I movie, I also recommend "Gallipoli", starring a very young Mel Gibson.

Missing in Action
It is unusual in the history of warfare for entire units to disappear without a trace and when it does occur, such occurrences are usually the result of serious mistakes that lead to the annihilation of one's command. In American history, Custer and the 7th Cavalry come to mind. Further back, the disappearance of the entire Roman 9th Hispana Legion in Scotland is another example. In the British-made movie entitled "All the King's Men," a more recent occurrence of such an incident is portrayed. On August 12, 1915 at Gallipoli, over 300 British soldiers of the 1/5th Norfolk Battalion attacked into a morning mist and where never seen again. Few of the bodies were ever found and none returned from Turkish prisons after the war. Winston Churchill no less, called it one of the great-unsolved mysteries of the 20th Century.

This film focuses on the "Sandringham Company," formed mostly from servants, gardeners and other workers on King George V's estate of that name, which were part of the 1/5th Norfolk Battalion. Virtually none of these men were ever seen again and the Royal family made great efforts during and after the war to ascertain their fate. The main characters in this film are Captain Frank Beck (David Jason), his two nephews who are lieutenants in the company, a Sergeant Grimes, King George V and Queen Alexandra. Beck is the main focus, as the fifty-plus estate manager who organizes and prepares the unit for war; rather than appearing as an odious "Colonel Blimp" type character, Jason wonderfully portrays Beck as a trusted father figure in the unit, respected by both the King and the troops. Much of the early part of the film focuses on the lives of the men while on the estate, and Beck's efforts to go to war with them despite his age. Eventually, Queen Alexandra lends her support to his martial ambitions and Beck is allowed to lead his men off to Gallipoli.

Unfortunately, the film bogs down a bit once the unit gets to Gallipoli. In reality, the 1/5th Norfolk landed at Suvla Bay on 10 August and was lost two days later, but in the film these two days seem to drag. The fact that the British were making a major effort to break out of the Suvla Bay enclave is missed here, because the film shows the men of the company lounging about and engaging in mundane camp activities. Some patrol activity against Turkish snipers is shown, but this has little relevance. On 12 August, as part of a minor preliminary operation to clear the way for a larger attack on the next day, the 1/5th Norfolks and several other units are sent forward to clear out Turkish outposts. At this point in the film, when the unit disappears in the mists, the director begins to switch back and forth between post-war investigations into the disappearance and a hypothetical depiction of what actually occurred on that day.

Historically, the film is a bit disappointing in recounting the fate of the "Sandringham Company" because it fails to put the day in perspective. The Sandringham company is shown in total isolation from the rest of the British army. The participation of other units or even the rest of the battalion is not depicted in this film, nor is even the audience told what their mission was. In fact, Captain Frank Beck did not lead the attack; it was his superior Colonel Beauchamp (Beck is never shown interacting with his superiors), who also died. The 1/5th Norfolk lost 372 men that day, of which the Sandringham men were only 2/3rds of the casualties. Even more glaring is that the British suffered about 18,000 casualties in less than a week at Suvla Bay during the period of the Sandringham company's brief involvement in the campaign; the disappearance of a few hundred troops in the midst of such slaughter and confusion might have made more sense given these facts.

Obviously the men were all killed, since none ever returned, but the exact nature of their fate remained a mystery. This film depicts the Sandringham's as punching through the thin Turkish line in a glorious charge, but are then overwhelmed once they become surrounded behind enemy lines. The Turks execute all the captured survivors, including Beck. While this theory has merit, it is not the only possibility. The film depicts the mist as obscuring the battlefield, but fails to show the heavy scrub brush and small trees that hindered the British advance and made it difficult for the officers to maintain control. Another plausible theory, not suggested by the film, is that the 1/5th Norfolk lost cohesion in the rough terrain and the battle-hardened Turks destroyed the untried unit piece-meal. While there is little doubt that the Turks were not taking prisoners that day, there is no evidence to suggest that the "Sandringham's" went down in a blaze of glory as depicted in this film (although certainly such a depiction is preferred to anything that suggests an ignominious end). Perhaps they did, but the loss of the entire unit is more indicative of incompetence than competence.

Despite these historical reservations, the film is very well done and provides a poignant example of the enthusiasm of men to go off to war in the early days of the First World War. Although some minor characters, including a conscientious objector and a shell-shock casualty, temper the glorious view of war to some extent, the film remains committed to a patriotic depiction of martial duty. The cost of such devotion is apparent by the end of the film, but the meaning of such sacrifice is left ambiguous. Contrast this British-made ambivalence about the sacrifices of the First World War with the current American films that glorify the sacrifices of the Second World War.

All the Stock Characters
In the vein of "Glory," All the King's Men is about a regimen of ill-fated soldiers who meet their demise during a military offensive. Unlike "Glory" these troops are more stock and less flesh. They seem two-dimensional, excepting Emma Cunniffe's character as the new bride and Ian McDiarmid's performance as the Reverend who was willing to lie to protect the mentality of the sole survivor of this regimen. The overall message in All the King's Men prevails: There is no glory in war and battles only senseless tragedy and death. ... Read more

Reviews (27)

Not a good movie
I've never read Dickens, or watched any movies/tv series based on any his novels, so I don't know what is from the book and what is from the movie director. I really enjoy historical dramas, especially BBC tv series. In this Great Expectations, the acting was good, especially the heartless little Estella. However, what I didn't like about the movie:

1. Too much scenery, not enough interaction. Instead of 10 seconds of Pip walking on the moors, we get 30 seconds. The same goes for birds flying, waves on the water, Pip walking through dark tunnels, Pip walking through dark streets, Pip walking up stairs, Pip rowing a boat. Pip opening doors and walking down dark hallways. Lots of extended scenes of scenery and no character conversations. Also, there're lots of scenes of Pip and Miss Haversham, Joe and the convict. But, there's next to no scenes of Pip and the love of his life, the grown-up Estella. Which leads to the next point:

2. As a result of the lack of scenes with Pip and Estella, we hear secondhand that she's unhappy, and we only hear Pip say that he's in love. The editing/screenplay is so choppy that we never hear why or how. I guess we are to assume from 10 minutes of the movie that Pip loves her madly because she is pretty and treats him very cooly.

I mean, honestly, we get what's got to be a total of 30 minutes of boring scenery in the movie, and then almost none of the adult Pip falling in love with Estella, or what happens to Estella after marriage?

3. Discontinuity. I don't understand why Estella is so heartless and cruel as a child, then comes back as a soft mannered, kindly seeming lady. Is this a gentleman-trap of some sort?

I give this 2 stars because the acting was very good, but the storyline is super choppy, cryptic, and unbalanced. It would have been better if more time had been spent on explaining the plot instead of long panoramas of the scenery.

Great adaptation of a classic
Great Expectations is my favourite Dickens book and this production doesn't disappoint. Ioan Gruffudd is terrific as Pip and it's such a change to have Miss Havisham not be a dotty old crone. Charlotte Rampling is still a very beautiful woman and she is excellent as Miss Havisham. Justine Waddell is suitably cold as Estella and the rest of the cast is fine.

The only complaint I have is that this was too short and tended to go over some parts too quickly. For a more thorough adaption I recommend the 1991 mini-series with Anthony Hopkins.

Horatio Hornblower as Pip!
It's an unique adaptation of Charles Dickens' "Great Expectations", but still, it's not as good as John Mills' "Great Expectations" (1947).

In John Mills' "Great Expectations" the events are well-focused, and Miss Havisham is meaner and crueler than in this movie. So it's better to see John Mills' "Great Expectations", or to read the book before seeing this movie.

Two things I did not like in this movie, the "WIDE" logo which appear on the screen every 15 minutes, and the narrator who appears on the beginning of the movie. We want to have fun not a lecture.

Ioan Gruffudd (Horatio Hornblower) performance is excellent as always, he proved that he always conquer, in love and war.

Lovely, but ill-focused film.
First let me say that I adore Ioan Gruffud and Justine Waddell, and their work, in this and in other films. And therein lies my (mild) dissatisfaction with this movie: there really are not a lot of scenes with the two together, focussing on their thwarted love. In particular, there is not a lot of development of Estella, so that her actions seem a bit difficult to understand. Why is she marrying that thug of a suitor? Is it an act of will on her part, and is she really so desparate to get any from Miss. Havisham? And if so, why not marry Pip, or anyone else for that matter? Pip confronts Miss. Havisham with the stated fact that Estella is suffering badly; however, we don't SEE this. A cardinal sin in moviemaking is to TELL instead of SHOW. And there are disappointingly few scenes, as I said, developing the love story, which tends to distance the viewer from Pip's pain. In particular, there is a dearth of scenes with Justine Waddell in them, which is quite hard to take, if you are a fan of hers, like myself. I was a little appeased that Ioan Gruffud was in practically every scene, hence my decision to give it four stars. Bernard Hill also was impressively protean as the initially threatening, but ultimately paternal Maggwitch. Charlotte Rampling was her usual luminous self, creating a peculiarly attractive Miss. Havisham. One wonders how her fiance could ever have abandoned her. To conclude, I was a little disappointed, but the film was worth the time and money I spent. I would highly recommend that Waddell fans search out her other work. She has been much better used in other vehicles, such as Tess of the D'urbervilles and Wives and Daughters (both are Mobile Masterpiece Theater productions, I believe). She also starred in a movise made in the U.K., "The One and Only", unfortunately not available in the U.S. yet.

Beautifully Shot But the Least Romantic and Humorous Version
This is a Master Theatre Version made in 1999, of Dickens' oft-filmed book which comes with stunningly beautiful photography and most strange decision about adapting the original book. As if to resist the Americanized version starring Ethan Hawke made the year before, this film version, as far as I know, is the least romantic one ever made. Whether or not you like the film solely depends on this aspect, so let me tell you about it first.

The story is comparatively faithfiul, spending about 3 hours to cover the story of Pip, an apprentice of blacksmith who unwisely perhaps, falls in love with cold-hearted Estella. But the film, as I said, gives more stress on darker side of the book, so the love theme is not explored as deep as other versions such as David Lean's or Alfonso Cuaron's. Rather, the newer version seems to give more emphasis on the Pip's guilty feelings deep rooted in his contact with the runaway convict Magwitch, and the film's way of shooting the famous opening of the book, which relates their encounter on the graveyard in the marshes, gives us no time for savoring Dickensian humor. The film uses the technique of flash-back, in order to express Pip's fear, which, I am afraid, is overdone for its own sake.

I do not follow every details of the story (you probably have read the book), but I have to say this; like I said, this film is endowed with least amount of humor and romance. Sure, you see Wemmick's most casual wedding; you see Biddy, Joe, Herbert (not all Pockets however), but you cannot expect to find any humorous scnes, one of Dickens' trademarks. So, when Pip recounts how he met Miss Havisham before his sister and Pumblechook, he is literally forced to talk. As you know, this is one of the humourous scenes of the original -- even though the humor is downplayed -- where we can see Pip makes up his own story, which gets more and more outrageous as he goes on. But the director here didn't seem to see that way, depicting the whole incident as simply terrifying one for Pip, who must receive as much scolding and harsh words from them, as if in a tortune.

Justine Waddle, often cast in costume dramas, is good as grown-up Estella, but before she could show something, the film goes on to follow the story of Pip, who must face bravely several darker moments of life (you know what I mean -- Orlick and Themes River), thus making least use of romance between Pip and her. Actually, the film shows more of mud (of London and Pip's village) and decay, so the first thing Pip sees in London is the butchered cattles hanging on the hook. It is true that Dickens' original book tells how Pip, arriveing in London for the first time in his life, wanders around Smithfield, then an open-sir cattle market, but ... do we need to know that?

The portrayal of Gruffudd's grown-up Pip is so-so, but the most disappointed thing about the film is Charlotte Rampling's Miss Havisham. Not that her acting is bad, but her Havisham simply does not convince me, being too weak in her gestures. She should be more authentic as this witch-like woman often found in fairy tales, who commands people, not just talks. If she does not follow the flamboyant acting of Anne Bancroft, that is OK. I just need more enticing mystery in this enigmatic, willful woman, Havisham.

Overall not bad if you look for bleak atmosphere in Dickens. But for those who seeks for humor and romance in him, this is not the one to see. ... Read more

Reviews (1)

Brillant, One of the best
I first came across Cracker on British tv a long time ago and i,ve been gripped from the start. Along with the equally brilliant Prime Suspect, Cracker is one of the best Television programmes on British Television. The acting is superb and the story lines grip from the start. ... Read more

Amazon.com

The hero of the acclaimed Granada TV/A&E series, the hard-drinking and -gambling Dr. Eddie Fitzgerald, forensic psychologist for the Manchester, England, police department, is a hard guy to like, but a hard guy not to be utterly fascinated by. In this Cable Ace Award-winning episode (for best show, best director, and a much-deserved best actor), Fitz, played with immense assurance by Robbie Coltrane, is sucked into a deadly game of cat and mouse with a serial-killing young couple who proudly pattern themselves on Bonnie and Clyde and envision dying in the same glorious hail of bullets. Fitz's only hope is to separate them to try to diffuse the hold they have on one another--before more innocent people are slain. Time (and Fitz's own destructive personality) are not on his side, sending the stakes ever higher. Cracker is one series armchair detectives should not miss. --Anne Hurley ... Read more

Reviews (2)

Distubingly good
Enjoyed the film immensely. Robbie Coltrane, Christopher Eccleston are at their best. The character of Sean was almost unwatchable in his craziness. Especially liked the interrogation scenes with Fitz and Tina.

Well crafted crime drama
The Cracker series and this movie in particular have what many movies today lack: excellent dialogue. This movie does not rely on big budget special effects or artful cinematography to distract the viewer from sub-par writing. This is the second movie in the Cracker series and continues to develop story lines involving the personal lives of Fitz and the police detectives he works with. Far from causing distraction from the central story of this episode (a pair of lovers whose alienation draw them together and precipitates ever escalating acts of violence) the personal story lines of Fitz and the detectives he works with add to the human drama and realism of the story. The best scenes in the movie involve Fitz's psychological insight and biting sarcasm. The movie does not romanticize the young killers or the police who are trying to catch them. It dramatically portrays the consequences of violence in a way American films rarely do, while subtely mocking society's fascination and celebration of murderers. If you are tired of "psychological" thrillers without a brain, this movie is the cure for what ails you. ... Read more